摘要
以探寻鲁迅短篇小说《故乡》艺术价值形成机制为目的,通过文本分析后认为:第一,在小说第一人称内聚焦叙述中,实际产生了回忆主体和体验主体两个第一人称,并形成了两个时空的宽阔对话空间。第二,这个对话空间是在"故乡与返乡"的故事模式中展开的,在"故乡与返乡"的故事模式中,鲁迅开掘出对于生命轮回的感受与悲剧性的幻灭感,以及对于希望的思考等等形而上的意味。进而认为,《故乡》艺术价值的顶点是在这种形而上意味中所呈现的"自我辩驳性质"。这正是鲁迅深刻之所在。
This article aims to explore the mechanism of the artistic value of Hometown, one of Luxun＇s famous short stories. Through analyses, the auther presentes that on the one hand, the inner-focalised first person narration produces in fact two first-person individuals who are respectively the reminiscing individual and the experiencing individual, and a situation separated by time and space. On the other hand, this situation is gradually presented before the readers with the unfolding of the ＇ hometown and the way home＇ plot, in which Luxun developed such metaphysical understanding as the samsara of life, tragic nihility, and the thinking over hope, etc. Further more, it is the ＇ self-dialecticism＇ implied in the metaphysical significance that constitutes the apex of artistic value, which, in the meantime, is the embodiment of Luxun＇s profundity.
出处
《中南大学学报（社会科学版）》
2006年第1期81-85,共5页
Journal of Central South University：Social Sciences
基金
教育部人文社会科学博士点基金资助项目(03JB750.11-44020)
